The Sound Design of Godzilla x Kong (The New Empire)
The giant monster movies created by Legendary Pictures have managed to captivate audiences around the world, becoming an unstoppable phenomenon. While other studios face challenges, Legendary continues to expand its Monsterverse with each new installment, proving that confrontations between colossal creatures never go out of style. At the epicenter of this universe are two legendary titans: Godzilla and King Kong. These iconic monsters are not only feared for their imposing size but have also earned a place in the hearts of audiences as charismatic and fascinating characters. Now, with "Godzilla x Kong: The New Empire," directed by visionary Adam Wingard, we are presented with an even greater challenge: to unite these two titanic forces to face an even more colossal threat.
The sound department for "Godzilla x Kong" featured a team of talented professionals tasked with creating a stunning aural experience. Erik Aadahl and Ethan Van der Ryn stood out as supervising editors and sound designers, while George Atkins, Mark DeSimone, and others provided flawless sound mixing and editing. From capturing the sound on set to the final mix in the studio, each crew member played a crucial role in creating the soundscape that accompanies the epic battle between Godzilla and Kong.
The filming of "Godzilla x Kong: The New Empire" took the crew to several locations, from Australia to Brazil, facing logistical and climatic challenges. In the Daintree Rainforest, Australia, the crew faced a three-day journey in 55 trucks, covering more than 2,000 kilometers, while dealing with the weather and local species. When the production moved to studio facilities in Queensland, technology was harnessed to recreate natural settings. The gigantic Stage Nine provided over 40,000 square feet of space, allowing the production designer to recreate a rainforest with approximately 1,000 major plants. Although some locations were visited, the integration of real images with 3D modeling demonstrated the production's versatility to create stunning landscapes.
The creation process has been nothing more than a continuation of previous works, and, precisely, one of the challenges of this series of films has been to maintain a certain narrative and aesthetic coherence. For example, if we talk about Godzilla's iconic roar, which has been a meticulous and creative task, and not only of this monster but of other giants: how would the roar of a 393-foot Godzilla, a 340-foot King Kong, a 318-foot King Skar, and a 149-foot Suko sound? Wow. Ten years ago, Erik Aadahl, also the sound designer for this new version of 2024, had shared that his goal was to generate a roar that was both supernatural and animalistic, a task that required an innovative and thorough approach.
To recreate Godzilla's classic roar, the team broke down the original 1954 sound into its minimum components. They discovered that the original mix included various animal sounds, such as the roar of a lion, the song of a whale, and the growl of a dog. These elements served as the starting point for the creation of the new version of the roar. Experimenting with combinations and effects, the team used tools such as bass amps and subwoofers to achieve a deep and powerful sound. In addition, they incorporated high-pitched squeals and distortion to intensify the sense of menace.
A particularly intriguing technique employed during the process was the "musical doppler," which consisted of recording the roar while the microphone was moved away from the source of the sound. This movement generated changes in the pitch of the roar, adding an additional layer of depth and realism to the final sound. After months of dedicated work and experimentation, the team was able to create a roar that maintained the essence of the original while incorporating fresh, modern elements. This detailed and creative process exemplifies the sound design team's commitment to excellence and their ability to reinvent classic elements for a new generation of audiences.
The germ of the idea of these characters is still very current: the uncontrolled and devastating forces of nature, and disastrous human mistakes in their lust for power. Ishiro Honda, director of "Godzilla", wanted to convey a message about nuclear dangers, not just create a monster movie. The importance of maintaining the original seriousness of "Godzilla" contrasts with sequels like "Godzilla Vs. Megalon," which undermine its message. This idea has followed a whole construct and permeates all areas of sound design. For example, there is a connection between "Godzilla" and the H-bomb tests, which originated in the 1954 Lucky Dragon incident, possibly inspiring the film, and, from there, the crew's exposure to radioactive fallout gave way to the idea of a destructive underwater creature. At the time, the scenes of Tokyo in flames were meticulously filmed with detailed 1:25 scale models, while Godzilla, played by an actor in a latex suit, destroyed the set, but the sound of destruction still seemed insufficient: how to perfect it. Akira Ifukube's score and sound effects heightened the sense of danger at the time, but what we had then and what we have now in this 2024 film was the result of a long creative journey.
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*The images used on this post are taken from Pexels.com